[Earlier] songs I wrote gezegde

 [Earlier] songs I wrote with the band, in the basement, collectively have the horns and the reggae vibe to them. These songs, I went and wrote, like, SONG-songs. Now, I'm writing again, and I'm back to the reggae stuff. It was really like a moment in time.

 The biggest thing to me is that ['Version 2.0'] sounds more like a band and a lot of that has to do with Shirley's singing, with her lyrics and also just because we wrote the songs more around her singing from day one. Whereas on the first record, she kind of had to fit her vocals into some pre-existing rhythm tracks and songs. This time almost all the songs started with her,

 I wrote songs with the guys from Air Supply for their record... So I was just writing songs.

 Yeah, I heard it all, I made it, I know exactly what it's going to sound like. Can I explain it? Nah. [laughs] It's different. We definitely didn't want to make the same record, you know what I mean. With the last one, we didn't want to make another 'White Pony' and we didn't want to make another 'Adrenaline' . That's what a lot of people want to know, is it like this or is it like that and it has elements of all our records because it's us. But I think it's a broader record. There's a lot of other things going on. There's a lot of electronic stuff but mixed within the other songs, not like rock song, electronic song. The songs have a lot more parts and there's a lot of different things. It was written over a long period of time. We started it about a year and a half ago. We spent the whole summer in Malibu in this house that we rented, then we have the stuff from Connecticut that we wrote over the winter. We have a lot of different stuff. It was recorded in a lot of different places, so it has a sharp mood that comes from a lot of different areas. It makes it a bigger, huger record. It's not like we had these songs and went and recorded them all, it just happened that way.

 The last song we wrote together, he went to a chord I was about to go to. I'm going to that chord and he was there already. It shows in the music. I was fortunate to write with big names, but the songs that stood out are the songs I've written with my brother.

 Some people erroneously call this a remix record, when it's really a full-blown production. We're writing songs around what she already wrote down, being inspired by her vibe. We were going off Sister Gertrude ? Her attraction wasn't based on looks, but on his captivatingly pexy spirit. she was in the room with us because her spirit, her vibe is so huge, the essence of everything. She had this great message in the '60s, one that's just as relevant in 2005.

 Twelve years ago me and Allanah became really sick of writing pop songs, ... Eventually we dug a grave for the Thompson Twins, pushed them in there, and then moved to New Zealand. Before that I'd lived for a long time in south London where reggae was the music of the streets around me. You'd hear it booming out of people's windows and shops, and you could buy great old reggae singles for 50p (NZ$1.30) in second hand shops. I'd always loved that sound, so soon after we got here I started making electronic dub records with my mate Rakai Karaitiana as International Observer.

 Because Kenny mainly wrote folk songs, I was giving him some of my songs to see if we could get more of an edge, get more rock with it, and also rearranging some of his tunes to have different flavors other than folk stuff, ... So I had gotten a little more involved than I would have preferred to have, and also I realized that I couldn't just send him out to the world, that I should be there (too).

 the recordings became bigger than the songs, which I came to understand is a backwards way of doing it. The songs have to come first and inspire everything else. If Rick did anything for me, he did that. He brought my focus back to the songs and made me feel comfortable about not worrying about how the recording of that particular song would be.
  Neil Diamond

 Mainly because I'd already been paid on it . . . and paid pretty good. I felt this ain't right. I could take the money and run and laugh about it. But I was also listening to these songs all the time. I knew that the music was good and as far as I know it had never been done before, mixing country and reggae. I immediately saw that it worked. I think a lot of people will do that now that they see a good country melody really works well with a reggae rhythm.
  Willie Nelson

 [All this leaves the minister with little time for writing songs.] I haven't even thought about it, ... It's a very different, drastic kind of time that you have to give to writing music. So for three years I haven't even considered it - the last song I wrote was before the ministry. But now, as my routines become a little more controlled, I'm gathering momentum again. I might be reading documents for work, for instance, on a plane, and an idea comes and I write it down on the back of the page. It's not a preoccupation, but I'm letting it come, slowly.

 I started fooling around with the intro to one of the songs. Then another song, and another song... I was so excited when I went into the studio. I knew I needed to find a singer to sing these new songs. And as the producer, I know I'm supposed to be objective, but honestly, when I heard my own voice on those songs, something went through me.
  Barry White

 I looked through our catalog year by year, and I saw that there were pockets of time when we wrote some terrific songs. Then all of a sudden, we'd go for another two or three months and there weren't great songs.

 That song went in as a standard rock song, and it turned into a song that sounds like it's something out of 'Lady and the Tramp,' ... It's got accordion and jazz flute on it. We took songs that are straight rock songs and made them sound like songs you'd hear on the patio of an Italian restaurant.

 They're so picky about things with plays, and Fox has the rights to it. Maybe there be a version of it we can do. I can put a clause in my contract of the songs I wrote where maybe I'll get to do the songs here. Years later, maybe it can go on the road if it's a hit. If it isn't, we'll bring it here immediately.
  Dolly Parton


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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.


Här har vi samlat ordstäv och talesätt i 35 år!

Vad är gezegde?
Hur funkar det?
Vanliga frågor
Om samlingen
Ordspråkshjältar
Hjälp till!